Royal, majestic, elegant. These letters are based on Roman and Greek characters carved on stone. They come in 3 different styles. Normal and Shaded are designed to have serifs with a finer thinning. On the other hand, Metallic is bolder and simulates in the most realistic way three-dimensional metallic lettering. There are some alternate characters placed at lowercase positions as well as a few stylistic alternates which are accessed through the OpenType features. Pay attention to letters like Greek Omega (lowercase position) and Greek Xi (lowercase position) as well as B, R, K (lowercase position). Monumenta Pro was recently upgraded to support Latin, Greek and Cyrillic.

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The inspiration for this typeface family came from my childhood experiences at Monkton, amidst an historic part of the South West of England.

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The inscription on the base of the Trajan column in Rome is an example of classic Roman letterforms, which reached their peak of refinement in the first century A.D. It is believed that the letters were first written with a brush, then carved into the stone.

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Sursum, inspired by the Roman monumental letterform, was designed to provide the possibility to play with the 58 OpenType ligatures and the 25 alternates letters.

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Shàngó is CastleType’s beautifully-rendered interpretation of Professor F.H.E. Schneidler's elegant titling typeface released in 1936 with the name 'Schneidler-Mediaeval mit Initialen'. This latter design is usually referred to as Schneidler Initials.

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In 1998, Tobias Frere-Jones designed Grand Central for 212 Associates from late-twenties capitals hand-painted on the walls of Grand Central Station. The design is a distinguished Beaux Arts descendant of the great French Oldstyle originated by Louis Perrin in Lyons in 1846, known across Europe as Elzevir and in the U.S. as De Vinne.

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The design of Castellar is patterned after carved letters on a Roman column dedicated to Augustus. It is an elegant all-capitals titling face with an incised or shaded look. Castellar was designed by John Peters for Monotype in 1957, and named after a town in the Alps. Castellar is at its best when used for sophisticated, refined display work.

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Durer Caps is four fonts in one.

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Odyssey is a display face with a variety of ligatures and alternate characters. The family includes regular, alternates and ligatures.

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At the height of the Roman Empire’s reign of power, a bunch of guys wearing baxas, olive branch headgear and lined saffron togas told a bunch of guys wearing carbatinas, no headgear and cheapo coarse togas to go and hammer the proud history of the Empire onto every worthy slab of rock, obelisk and wall out there. This resulted in countless rocky manifestations of ancient clipart, interesting stories and weird messages becoming national tourist attractions and museum dressing all over the world to this very day, which is some 2000 years later.

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In 2007, insigne released Aviano. It’s beautifully drawn extended letterforms were a hit with designers and Aviano quickly became insigne’s most popular offering of early 2007.

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Aviano is an extended titling face with influence from the power and timeless beauty of classical letterforms.

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Insigne’s popular Aviano series returns with Aviano Serif.

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This type family can be seen as a historical approach that considers our increasing needs for freedom in a post-historical world. Jana Thork is a synthesis of the stone engraved capital letterforms and the uncial and half-uncial calligraphic styles.

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Shàngó, inspired by the initials from Professor F.H. Ernst Schneidler's classic design released in 1936 as Schneidler-Mediaeval mit Initialen, is an elegant design that looks best when used at large sizes, as the original name suggests. Shàngó is available in two styles: Classic, available in 3 weights, and Gothic, available in 4 weights.

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Carta Marina is based on the titling found on the famous map drawn by Olaus Magnus in 1539. The map of northern Europe took 12 years to complete, and the total size is a huge 1.7 meters tall by 1.25 meters wide. More information about the map, as well as the high resolution reference document used to create the typeface and illustration set can be found at the James Ford Bell Library, University of Minnesota.

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Newcomen is a highly versatile titling face that includes 87 OpenType alternates and 38 ligatures. Newcomen titling, in its default form, evokes the Victorian era and is named for the British inventor of a steam engine for pumping water.

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Eterna is a very beautiful font with diverse uses.

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The style of the Renaissance lettering master Giovanni Francesco Cresci is classical and timeless. Among a number of Italian scribes and lettering instructors of the period, he was the first to combine the elegance and proportions of the Trajan Roman capitals, and interpret a humanistic solution for a lowercase - his ‘Lettera antica tonda’, as illustrated in two of his work books, ‘Essemplare di piv sorti lettere’ of 1560, and ‘Il perfetto scrittore’ of 1570.

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This font is based on an alphabet published by Luca Pacioli in his 1509 mathematical treatise De divina proportione. In this book, Pacioli describes how to build the Roman alphabet geometrically using lines, squares and circles.

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Principe is the Bodonian idea driven to the limit by abolishing most of the hairlines! The shape is completed only by the eye of the reader.

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The Aviano series returns with a Didone or Modern face.

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Eleganza is my most elegant typeface.

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Released by Berthold in 2003, Senatus is the third Berthold Exklusiv designed by Professor Werner Schneider (Schneider-Antiqua, Schneider Libretto).

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Nick went on holiday to Ireland and started this single weight display face when he came back. It has a Celtic calligraphic influence which must have subconsciously come from looking at ancient manuscripts and the Book of Kells in Trinity College, Dublin.

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Missale Incana is a redesigned, new interpretation of a typeface from Herbert Thannhaeuser.

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Antigen is a forceful and fresh typeface with a strong futuristic feel. Its characters have a wide stance, and the lettering is subtly rounded.

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This typeface is based on Albrecht Dürer’s work “Die Underweysung der Messung” (Institutiones Geometricae, Instruction in Measurement). Please note that this font needs special treatment when typesetting text. If you need black text, you need to type just capital letters separated by spaces. If you need coloured text, type both lower case and upper case (with the lower case character first), and then assign a colour to the lowercase letters only.

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At the height of the Roman Empire’s reign of power, a bunch of guys wearing baxas, olive branch headgear and lined saffron togas told a bunch of guys wearing carbatinas, no headgear and cheapo coarse togas to go and hammer the proud history of the Empire onto every worthy slab of rock, obelisk and wall out there. This resulted in countless rocky manifestations of ancient clipart, interesting stories and weird messages becoming national tourist attractions and museum dressing all over the world to this very day, which is some 2000 years later.

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Art Nouveau happened over Europe under different names.

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In designing Trajan, Carol Twombly was influenced by the style of the chiseled writings of the Romans during the first century AD. Twombly completed the font with numerals and punctuation and added a bolder version for text which should be emphasized. Most importantly, her interpretation of an ancient style resulted in a font whose clarity and beauty come across in modern printed materials.

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